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  • Nasty Love

    Nasty Love

    ★★½

    It's an original feminine style of a "sensory" Naples, marked by nostalgia and reminiscences. One of the most singular popular portraits of Italian cinema in the 90s.

  • To Kill a Mockingbird

    To Kill a Mockingbird

    ★★★½

    As for the original novel, the Italian title, 'Il buio oltre la siepe' (translated: 'The dark beyond the seat'), renders only partially the essence of the work: the thematic pivot, in fact, is not so much the fear of otherness, even of the most harmless to civil society, but its violent suppression.
    A merciless parable about the universality of the province, about the divisions and frictions that make it a "seismograph" of a never exhausted political crisis and of a national unconscious never elaborated.

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  • My Darling Clementine

    My Darling Clementine

    ★★★½

    Wyatt Earp and Victor Mature (also known as Doc Holiday): crepuscular and lonely hero, the one, supporting figure resigned to him own pain, the other.
    Two stateless characters in a wild, unexplored and equally "stateless" West.
    Legend and reality intertwine creating an authentic popular melodrama.

  • The Postman

    The Postman

    ★★★

    It's the Kevin Costner's second direction after "Dances with Wolves" (1990). The movie marked his relentless authorial decline due to the box-office and critics failure.
    After the coeval "Waterworld" (1995), directed by colleague Kevin Reynolds, the film follows an apocalyptic-adventurer trend with the intention, this time, to explore the sense of national identity. He does it with wit and narrative mastery, paraphrasing myths and images of the past, often stolen from the 'big screen' history (note the spot-on quotation of John Ford's "She Wore a Yellow Ribbon" -1949-).
    The result is a brilliant Independence parable with an undeniable taste for entertainment.